By Charlie Parker VERVE 8005 J = 208 (4-Bar Intra) ~"' ~N~

CHARLIEPARKEROMNIBOOK For C Instruments(TrebleClef) • TranscribedFrom His RecordedSolos• TransposedTo Concert Key

CONTENTS Title Page AH-LEU·CHA (AH LEV CHA) 86 ANOTHER HAIRDO 104 ANTHROPOWGY 10 AU PRIVAVE (No.1) 24 AU PRIVAVE (No.2) 26 BACK HOME BLUES 106 BALLADE 142 BARBADOS 70 BILLIE'S BOUNCE (BILL'S BOUNCE) 80 THE BIRD ...... 110 BIRD GETS THE WORM '" : . .. . 94 BWOMDIDO 108 BLUE BIRD :...... 84 BLUES (FAST) 124 BLUES FOR ALICE 18 BUZZy 78 CARD BOARD 92 CELERITY 22 CHASING THE BIRD 82 CHERYL 58 CHI CHI 28 CONFIRMATION 1 CONSTELLATION 45 COSMIC RAYS " 30 DEWEY SQUARE 14 DIVERSE 114 DONNA LEE ...... 48 K. C. BLUES 20 KIM (No.1) 51 KIM (No.2) 54 KLAUN STANCE 89 KOKO 62 LAIRD BAIRD 32 LEAP FROG 130 MARMADUKE 68 MERRY·GO·ROUND 117 MOHAWK (No.1) 38 MOHAWK (No.2) 40 MOOSE THE MOOCHE 4 MY LITTLE SUEDE SHOES 120 NOW'S THE TIME (No.1) 74 NOW'S THE TIME (No.2) 76 ORNITHOWGY 6 AN OSCAR FOR TREADWELL ...... 42 PARKER'S MOOD 134 PASSPORT 102 PERHAPS 72 RED CROSS 66 RELAXING WITH LEE 122 SCRAPPLE FROM THE APPLE...... 16 SEGMENT 97 SHAWNUFF...... 128 SHE ROTE (No.1) 34 SHE ROTE (No.2) 36 mm STEEPLECHASE ...... 112 THRIVING FROM A RIFF 60 VISA 100 WARMING UP A RIFF ...... 136 YARDBIRD SUITE...... 8 Charlie Parker (Biography) ii Introduction iv Scale Syllabus 143

'i'J1978 ATLANTlC MUSIC CORP. International Copyright Secured Made in U.S.A. All Rights

. " INTRODUCTION

The solos in this book represent a cross section of the music of Charlie Parker. In presenting these solos, we hope to bring musicians closer to the true genius of "Bird". These solos are in C concert key, treble clef. The book was originally published in Eb key and this new concert version should allow many more people to explore the won derfu.1world of music that Charlie Parker gave us. Most Jazz musicians have learned to play by listening to records and imitating the notes, articulations, vibrato, etc. of the masters. We encourage you to play these with the actual recording. listen to the record first, then play through the solo slowly, gradually increasing the speed until you are at the recorded tempo Bird played it. I don't feel the idea is to try to play the solos exactly as Bird did, but rather to find phrases, articulations, scoops, turns, etc. that you feel you would like to incorporate into your own playing. By being able to see and play the actual notes, it should help speed up the learning process. Many players play like Bird but retain their own personality. Practice with a metronome. Each day try to increase the tempo a little, all the while retaining the inflections, articulations, etc. that you would use at the slower tempo. Try practicing some of these solos with the Aebersold Play A Long records. Take a slow blues solo in F and play it with one of the records in the series that has a slow F blues, then move to a record that has a faster F blues. It is fun to work towards play ing the solos with Bird along with the actual Parker recorded version. Blues make up the largest portion df this book. Rhythm changes come next. Some compositions have the two versions recorded by Parker in separate solos. When a measure occurs without a chord symbol above it, the chord is the same as the meas ure preceeding it. Most players like to analyze solos in order to find out what the musician is do ing. Our ears cannot always HEARwhat is happening so we slow the music down. transcribe it, analyze it, practice the licks, patterns and phrases we like best, and end up playing them in our own way on our instruments. We have put chord symbols over most all bars to enable you to analyze the notes in relation to the chord. Remem ber, each chord symbol represents a series of tones called a scale. Older musicians used to improvise mainly on chord tones; Charlie Parker was one of the first to broaden that to include scales and substitute scales. For information on scale substitution refer to the Scale Syllabus chart. '" Bird loved to use the b9 over the Dom. 7th chord/scale. The Blues scale and its accompanying licks was an important part of his music, even when playing songs other than bluesl When you find licks or patterns that you enjoy, practice them in several keys so the melodic phrase becomes a part of you. It should become automatic in order to really be useable in a playing situation. Only a minimum of articulations have been put in this book. We feel that jazz, being an aural art form, is often times best imitated by listening over and over, and then playing the notes the way you hear it on the record. This might seem like the long way ta do it, but experience has proven reliable. After all, who would object to listening anyway? listening is what music is all about. The records from which these solos are taken are listed at the top of each solo page. They are contained in approximately eight records (some are two record sets) and most all are still available. The two record sets are a barg,ain) We hope you have as much enjoyment with this book as we have had putting it together. lamey Aebersold * For SCALE SYLLABUS see page 143

r \ -: 1 Confirmation

By Charlie Parker VERVE 8005 J = 208 (4-bar Intra) ~"' ~N~

I . ?~

Bb7 A- IIJ D7 G7 G- C7

2 l~jr ~

F J E16 A7 D- G7 C- It! F7 alW"~'t~'ff~

Bb7 A- r;: G-. J C7 F 4~?t ~ "1~ - -rt¥tl ..""

C- C- F7 Bb Bb 5~-¥"~

Eb- Ab7 Db G- C7 6~'T~

~.",~F700 7 ~$?~ ,

Bb7 A- D7 G- C7 F 8~

F Etl' A7 D- G7 C- F7 n~

~~ 131Df.,. " I J E~- A~7 Db J G- ~7

.,. - ...... ,.I."l. I'" """"'"' F~~n 15W,. . ,~

". b . ""~ 17~,1F t'1 '-' 3

Bb7 A- D7 G7 G- C7 18~}~

F Er6 A7 .1 D- G7 c- S. L9~-"

~F 2O~T"7 -~ n ~ ,I

~.. G7C-F7 23 - .., m .... J W'

Bb7

jU 4 Moose The Mooche

By Charlie Parker C. PARKER407 J = 224 'PIANO "... c- F7 ,- 3 ..?

c- F7 A!>7

G7 G- C7 c- Gil' F1.

c- F7 "7 .

c- F7 B'~C_F7 9~?~ - - I

B~7 E~ E~-6 B~ C- .F7 101-~-~

B~ c- F7 B~ c- F7 11~-

B~7 E~ A~7 J B~ B~ "~71- ~

- - ~ G7 G- ,. - J

~F7_ • 14 - 'f 1 '1 ~

c- F7 D- (D~-) c- F7 B~7 15~"'M'r~

E~7 B~ c- F7 B~ 16~' 1- 7 ~ ----;;-

6 Ornithology

By Charlie Parker and Benny Harris '.'RD SYMBOLS' C. PARKER407

C7 F F- Bb7

2 -'t'~'t'1~

~?t"i r-l

E7 A- D7 liza ~ I-I-I·~ JltUMf'EJ-- B- E7 A- D7 G E7 A- D7

5 ~ .:!EHO~ ~l.T~ ~t.:rQ

G G- C7 6~-1

F F- Bb7

7_- 1

8 Yardbird Suite

By Charlie Parker 'BIRDSYMBOLS' c. PARKER407 J = 224 ~ C F- Bb7 C7 Bb7 -

_ ~ ... _ _ \0.- .....

E- F#16 B7+9 E- A7 4~'t~o ~tW

D- EI6 A7D7 D7 Db7 'li.ib'f~"~ -I

C F- Bb7 C7 Bb7 A7 6~ !if t'

D7 G7 C D-

7&'1J§3. \' ~ t4$4@ • \? I ''1~

C F- Bb7 C7J Bb7 A7 ,mT'1_

9 9~~.m~

C F- Bb7 C7 Bb7 A7 .uyt=¥T~~

D7 D- 07 C C B7+9 l~ ?'rFtij- I• ;

E- B7 E- A7 20't .., - I

D- A7

D- 07 C ~Bb7 l4~" . *1~

C7 Bb7 M m 15_~. I

D- 07 C D- 07 C "I· ~f~!'- ~

/'" 10 Anthropology

By Charlie Parker and John 'Dizzy' Gillespie COLUMBIA 34831 J = 300 Bb c- F7 1. I P I

D- G7 c- F7 Bb7 Eb7

;1.- D- G7 c- F7 Bb 3 - m m m m

" " s

Bb c- F7 Bb G7 c- F7

Bb7 Eb7 Bb Bb

7 - .....- '-' .,

Bb7 Eb7 Bb7 G7 C- F7 '_t'llj

Bb C- F7 D- G7 C- F7 n

~7~.~~~~: 11 - - ~ 3 ~

D7 D7 G7 G7 2~

C7 C7 F7 F7 3~~M

Bb G7 C-

4 -~

Bb7 Eb7 Bb G7 c- F7 5~ - I-I 1?-->ft 9 3

;,~~ 6~B' • C- (turn page) ~dl,l 12 Anthropology______- cont. B~7 E~ B~ c- F7 17~"~ '71- ,§Ell

B~ C- F7 D- G7 C- F7 18~

~m 19 - !~

D7 G7 G7

,o~ ~,.~ ..... _I

C7 C7 F7 F7

"I\i~l "!~ - I- I

B~ a C- F7 D- G7 C- F7 220-~-\-?~

B~7 E~7 Eo B~7 C- F7 "~-~'l)l

B~ J C- F7 B~ F7 13

F- Bb7 Eb Bb7 3 c- F7 ~'r

~ ~ n ~ m !~.~ "+ ¥ ~

c- F7 Bb7 Eb Bb Bb .?~"~f~

D7 G7 -,~

Bb c- F7 Bb c- F7 'bj., §.~~. a ~ -- ." Bb Bb7 Eb Eo Bb L~.:. _~_ ~ ~ma ~ .,)@

c- F7 Bb c- F7 '~-~ ,..T

14 Dewey Square

By Charlie Parker JAZZ GREATS JG-617/BLUE RIBBON 81 J ; 184 Eb Ab- Eb7 Ob7 C7

"""------F7 F- Bb7 Iiib C7 F- Bb7 '~'f'f~

Ab- Ob7 Eb Eb C7 -~_.

F7 F7 F-

C7 F7 F- Bb7 Eb 71!t_'l~

Eb Ab- Eb7 Ob7

~-- 15

C7 F7 F- Bb7 9~

Eb F- Bb7 Eb Ab- LO_?IY~~

Eb7 J Ob7 C7 F7 F- Bb7 11~

Eb Eb7 Ab.. Ab- L2~ , . r I

Eb Eb C7 F7 L31"1

F7 F- Bb7+ "~'lU

b b b l5 H'i"~

C7 F7 F- Bb7 ,. 16~-I- ~

Eb F- _ Bb7 Eb ir l' .j 16 Scrapple From The Apple

By Charlie Parker BLUE RIBBON son/upFRONT 171/CHARLIE PARKER RECORDS 407/SAVOY 1108, J : 200 G- C7 G- C7

-J1 -":~

F ~-

E- A7 D7 D7 21'~~·

F Bb7 BO F F D7b9 18 Blues For Alice

By Charlie Parker VERVESOlO/VERVE

J = 165

Bb7 Bb- Eb7 A- Ab- nb7 '_7~

F7 G- C7 3~''!~'t'

~C-~~ 4 yl - , j , Bb7J Bb- Eb7 A- Ab- nb7

G- C7~ §T~""

D- G7 c- F7 B~7

A- A~- D~7 G- C7 12~-~

ALSO AVAILABLE CHARLIEPARKEROMNIBOOK For E Flat Instruments. Transcribed Exactly From His Recorded Solos CHARtJEPARKEROMNIBOOK Transposed for B Flat Instruments. Transcribed Exactly From His Recorded Solos (Tenor and Soprano Sax, Trumpet and Clarinet) 20 K.C. Blues

By Charlie Parker VERVE 8840/VERVE 8010/MGM 4949/VERVE 251 J '"126 Blues

C7 C7 ~ 2~!~

C7 C7 J D- G7

~G7= 7 _ -.:=,r '.

C7 F7 J J C7 f. C7 8~!*f1j "~.~~~. :.J I

F7 F7 C7 9~~J~§~..,

.."

E-

C7 D- G7 C7

THE PROFESSIONALARRANGERCOMPOSER (BOOK ONE) By Russell Garcia THE PROFESSIONAL • Best selling text book used by leading universities. ARRANGER COMPOSER • Basis for course in Practical Arranging and Composing BOOK ONE in the professional field. For the advanced arranger. • Endorsed by leading music educators and composers and arrangers. RUSSELL GARCIA AND NOW!

THE PROFESSIONALARRANGERCOMPOSER (BOOK TWO) By Russell Garcia THE • Discusses contemporary trends in Jazz, PoP and PROFESSIONAL "Modern Classical" Techniques. New scales, chords, ARRANGER progressions, free improvisation, vocal effects, using COMPOSER tone rows in practical music, etc'.- BOOK TWO • Contains a record of many of the 169 examples and the recording of a complete score of an exciting contemporary composition by Garcia. (Musicians used are the top instrumentalists on the West Coast). RUSSELL GARCIA The both books complement each other! You need both books for a complete course!

CRITERION MUSIC CORPORATION 6124 Selma Avenue, Hollywood, 90028 Calif. ------22 Celerity

By Charlie Parker VERVE 8002/VERVE 25 J = 276 2

, -

c- F7 B~ J c- F7 D- G7

B~ G7~9 E~-

D- G7 B~ c- F7 (B~) (D~-) C- F7 o~ l~ J a

~.D7i7 G7 4 . .,

5~". • ? I -.3

3~ c- F7 D- D~- c- F7 '~f~

~E'-" ., .... 7 ...- ,,,,"'tl Au Privave (No.1)

By Charlie Parker VERVE 8010jMGM 4949jVERVE 2515 J = 220 o ~ ~ M. F7 C- F7 1 .,.

A- D7 2~~7~

i i . l rz.- G- C7 I'" F7 D7I G- C7 IG7 .C7

3~~ . '_-1F7 . F7 c- c- B7..d1 5~7~·~

6~_F7+V C7 m71- o- 't U

Bb7 Bb7 F7 A- mr; I ,~ 8~"" _+ ':I••.:~ . '¢J _

STAGEDANCEBAND

Arran.ed by Frank Comstock

THESEBOOTSAREMADEFORWAlKIN'. · (Rork liit) IEINIE'S TUNE (Brllht Swin,) DREAM. ' .. !Johnny Mercer) INTERMISSIONIIFF · .(Bouncy) n's A COODDAY. · ... (Bouncy) JUMPlN'WITHSTMPHONYSID. · .{SWinIY) MOONLICHTIN VERMONT ..(Great Standard OFF SHOIE.... .{Dreamy} 1018'N'S NEST. (A SWlnler!) SPECIALOCCASIONMEDLEY . (Often used Songs) TAllliATERAMlLE. ·. (OI_leland) VA.TISTWALTZMEDLEY · .{Dreamy) Arran•• ' b, Jotlnny Wamnlt,n TINYBUllLES. · (Mod. Beat) I Au Privave (No.2) I

,y'Charlie Parker VERVE SOlO/VERVE 8840/VERVE 8002 I J = 220 Blues I "" " F7 .;1__ 'e •• 'I I ") , _ .+ 1~ -I I I -"~ 2~'tr-" I 3 I. -LAYBACk' I l C7 7t~ 3~~.. - I I F7.~ 4~7'~fF7 F7 , I F7 I Bb7 Bb7 (A':) D7 sWt"f ,...~ I I .~~ I I ,~ I ... '-"'" \olO' I Bb7 8~-v~A I

G- C7

)~--F7 Bb7 F C F7

C7 F7 '~Y~~

Any Musician Can An Importon/ f/emen/ory Arrange With This 8001<' Arronging'Book For Schools First Contains two records of charts in the Chart book: (~contemporary method) and "Moonlight In Vermont" for full orch. FIRST Written by Pros ... and 4 examples of contemporary ByV"N AWtANDEI styles by a leading university on:h. CHART Edited by by JIMMIEH"SIEU , .. he, you to make a Van Alexander chart step by,'.p, us· 11:1.__ ---- ing "Moonlight in V.r ...... t" BARNEY KESSEL says: "This book opens the door to an arranging ca reer for musicians. Van's first book did this for me." 28 Chi Chi

By Charlie Parker VERVE 8005/MGM 4949/VERVE 8409 J ; 220

E~- A~7 D~7 D~- c- 'It'f~··'~

c~- B~- E~7 c- F7 3 ~:.~

A~7 c- F7 6~'t' ~B'-~D" 7 - ,~~

Ab7 A~7

l'J.w..... __ ......

nb7 Ab7 c- F7 Bb-

~B~;~

nb7 Ab7 c- F7 Bb-

Bb- Eb7 Ab7 nb7 i\b7 ,_lt~

Eb- Ab7 nb7

8 l~5'fffiJ

Ab7 c- cb- Bb- 9~i 30 Chi Chi - cont. E" A', .,- E'~' 20 . 'f @ r 'r I

Db7 Ab7 Eb- Db7

"-"

Db7 22iji3?~ -~-- . .'r'" ~

Eb7 Ab7 Bb- Eb7 Ab7

Cosmic Rays

By Charlie Parker VERVE 8840/VERVE 8005 J = 132 C7 ,,;~G-it"4(iim i _

wi ~E-A7 ..,~ 2 ." -

D- G7 bg A D- G7 3~-~I'il ...... __ I _

•

0/0 E- Ab7bg D- G7

E- A' .. G7 C7 ¥I ""~ 7~~~1f"t~-

C7 F7 F7 Gbo Gb7 F7 E7 Eb7 Gb7 j 8~ -7t't~1k'l~

G7 C7 A7 D- G7 C7 '"~'tl

CRITERIONMUSICCORPORATIONPUBLICATIONS

SAXOPHONE DRUMS UNa. SAXO'HONEsmis AMEIICA'SliREAT£SIDRUMSMISTS BySamDonahue.Sol,psby DonirIS, lester Young.etc',... ByGeorgeWeltling. Fnturins stylesof 22 lop-notchdrummers.. eNDUE 'ARlEl'S IEIOP ALltiSAl FOUO DI. RecordedIIit bop alto solos. PIIOfESSIDrw. STUDIES 8, Brld Spinney. _ ILLINOIS JACQUET TENOR SAX fOUO For Radio,Stage& Screen.. Recordl!dhit tenorsolos,. CIlAILIEVENTUR'TENOIsu:FOLIO 4 oril!inal,ecordedtenorsolos..

CLARINET OIEAT CLAII"n STYUS TRUMPET Solosby ArtieShl'll",BennyGoodman, Buddy de Franco,etc... ClEATTUMPETsnus JAZZ CONCIITO fOl ClARINET ByBillyBlItterfield.Solosby,louis Armslronc. ByBuddyde FrlllCO.. HarryJames & DizzyGilles9If:,. . .. , ... 32 Laird Baird

By Charlie Parker VERVE 8005 J - 162 """'--PlANOl.NTKO------A

G- C7 F- . Bb7 Eb7 ~ Eb- , ,- Db- C- F7 J

Bb G7 C- F7 Bb A,p D7 4~ -1f'1~ '1jijip

G- C7 F- Eb- 5~ 1'~-$"7~.

~ ,-- ~~ F7 Bb C- F7

7 ij 8~'t:~

Bb c- F7 Bb A~ D7 "~ -!Z~ '1j1flI

G- C7 F- Bb7 Eb7 Eb- 12~~I'~-

D- Db- C- C- F7+

THE GUITAR GUITARTUTORby LaurindoAlmeida A Complete Concert Guitar Method in 3 Courses by for Seginners-Intermediates -And Advanced,Stu dents.c-tnctudes Solos transcribed from Almeida's Barney Kessel Capitol Recordings laurindo Almeida'sConcertGuitarFolio A Most Unique "FROMTHf ROMANTICERA" Guide for Guitarists Transcribed Solos Jrcrn his Capitol album, Music of Beethoven.SchomannChopin,Massenetand GreiJ< Answers mOny questions ond solves prob tAURINDOALMEIDAGUITARSOLOS lems reloting 10 the guitar, music ond the All solos transcribed as recorded by Launndc AI· music business. 211 pages filled with text merdaon CaprtolRecords ond music excrnples covering over 60 dif .. ,AMoR flAMENCO. TrHUACAN ferent aspects of the guitar. An eo sy-to-rec d, BALLERrASYCANCloN easy-to-understand book, spirol bound.

VENTURE FOLIOS BOOK=1 _ FeaturingWALKDON'TRUNand others BOSSAGUITARRA BOOK=2 - Featuring JOURNEYTOTHE STARSand 6 Solos for Guit.r others. BOOK=3 - Featuring JOSE.INSTANTGUITARSand by LAURINOO ALME.IDA others. BOOK=4_Featuring DIAMONDHEAD,GRINGOand Guitar Solos with lead line and chord other hit songs. symbols (finger style guitar). Also has suggested drum rhythms. f} ....

34 She Rote (No.1)

By Charlie Parker VERVE BOlO/VERVE 884C1/VERVE 8002/VERVE 2515 J = 270 Pedal Concert Ab 1 _ '¥ 2~

B> ~ 3~"7 .

B> B> n- ~ '_1101'1' 5~'~

(;7 C7 C- F7 6 -- Bb Bb Eb- 7~•," I _ ~1t'1iiM - I--

""'"Bb Bb D- G7

• i m i _ 3~'r• I" , Ie -_ I-----.~

c- ~ F7 Bb C- F7 ,,~-oo

Bb Bb Eb- Eb- ll~ -~ll- ?t~

C- Ab7 Bb Bb G7 "~

c- F7

Bb j Eb- Eb- Bb 'i1j'1~-~

Bb ~ 16~-

C- F7 Bb C- F7 Bb "~~D 36 She Rote (No.2)

By Charlie Parker VERVE8010/MGM 49.' J = 265

Pedal Concert Ab

, ... \II.. ~ " .. • I'I.~.!II • .,.,.."., '~ 3~~T~~

Bb Bb D- G7 4~Tt'l~

C- F7 Bb Bb '~ ~-~~~~ 6 - 19

Bb Bb ~ E'- 7~ J '7~I-! '1~

Bb Bb D- G7

8~T-lrr~ I

e 1956 ATLANTIC ~IUSIC CORP. e 1978 ATLANTIC MUSIC CORP. Al! Rights Reserved. W.W. 37 9~

F7 !t\~~O 14 - 38 Mohawk (No.1)

By Charlie Parker VERVE 8006/VERVE 8840/VERVE 2501 J = 168 ~3Bb7~ 1 II 1-'t' , ,~ ~;¥~

c- F7 B~7 j J

Bb7~ F-Bb7~ 4rn~ . 't \ - "It., ~ "- ob- E~7 E~7 B~ D- ,~-r_

B~7 E~7 Bb)\1a F- B~7 7~-''t¥,-- "11_ ,_

E~7 E~7~ B~ G7 8~1' L.AY e.AC.K

B" ." BI, j F- BIb )~"~t"'~-¥E=t s

Eb7 Eb7 Bb7 J G7 l~¥~~

c- F7 Bb7 F7 '~ ''!~,r'1J#l1

Bb Eb7 Bb7 Bb7 '- Eb7 Bb D- G7

c- F7 5~

Bb (Db-) F7 Bb 40 Mohawk (No.2)

By Charlie Parker VERVE 8006/VERVE 8002 J = 184 Blues B~7 E~7 ., 1 - $\-'~~ j,

B~7 B~7 E~7 E~7 '~

B~7 G7 c- F7 3bJ'1~'1"!'~ 'l~~ -~ ~ ~ ~

B~7 c- F7

t:b

-B~7 B~7 E~7 E~7 5~E-~·,"

B~7 6~'" _ 4:t ./

E~7 B~7 B~7 E~7 8~¥~

Db- Bb7 D- j

!r I

Eb7 Eb7 BbMa D-

c- F7 BbMa

(Db-) 42 An Oscar For Treadwell

By Charlie Parker VERVE 8002/VERVE 8006/VERVE 2501 J = 230 'PIANO ViTRO c D- G7

1~ , I\- 'r.,~~~ - -...... ~. -

E- A7 D- G7 F Bb7

~'E- A7b9 D- G7 Ir2.c c 3_~1iW

w "" ~ E7 A7 'U'f~~'~"1

51m~!t

G7 c D- G7

. - - . - ~

E A7 D 7 ~"~I V F Bb7 c A7 D- G7 c 7~

----_.- E- A7 D- G7 C7 43

F Bb7 E- A7 D- G7 C '~'71-"~

D- G7 E-j A7 D- G7 C7 .~'i~~

F Bb7 C C E7 '~-~

E7 A7 A7 D7 'Q--~

D7 D- G7 j '~~}~~ ,~7tli~

C7 F Bb7 C D- G7 ,~tl't'f~ I

C D- G7 E- j A7 D- G7 '~,"l"f'f_ ,_,1-,.1C7' F Bb7 E- A7 D- G7

(turn page) 44 An Oscar For Treadwell - cont.

C I>- 07 »- A7~ 19Rti¥}'1 ~ t"1 ,

C7 F Bb7 C C 20 ~~'tl.~. ~ ....- - E7 E7 A7 A7 ~.,'t'1~~'JIO~ 7?Z~ 21 "• 1/f'p 7?Z

D7 D7 D- G7.--J_ "_f~

C D- G7 E- A7 D- G7 "II=!'Ii:'f ~ ?E, ~ 't'1l'l

"';~;;i~:~~~~~~oo.\~;;:"~~A·:;~(}~;~~:¥.;@"~'£~~,:~~~~::"

PIANO& VOICE PIANO FOLIOS us BAlTER'SEXOTICMUSIC FOLIOS P,ano & \lOICe, with guitar chords. ElOTlCSOUNDSOf MARTINDENNY.. lEEHAZlEWOODFOLIO:: 1 ERROLLGARNERPIANOSOLOS,I Containshils like HOUSTON.SAND.THESESOOTS ERROttGARNERprANOSOLOS,II art AREMADEfORWo\lKIN',etc. H. REVn'SMUSiCOUTOFTHEMOON 'I lEE HAZLEWOODFOllO=2 NATKINGCOLE'SPIANOSOLOS 60 greatsongs.includingSUGARTOWN. SUMMERWIN£.COASTIN',SHADES.etc PIANO SOLOS HAWAIIANSONGBOOK, ' AUTUMNCDNCUtD OFFSHORE 26 HawaIIanhit songs includingPEARLYSHELLS. LUSHWALTl ROBBIN'SNEST ' ~. fOREVERMORE,etc' MONTEVIDEO RUNAWAYROCKINGHORSE . ~ ;;- ISLANDSONGBOOK . MOONliGHTINVERMONT WAlK TOTHEBUll RING I":. 31 hils, featUringTINYBUBBLES,KAINOA, THENAKEDSEA } , SINGINGBAMBOO,etc. ~ , SONGSFORSINGERS-Book:n ~ 36 great songs,lncludmgSONGOFINDIA, MODNUGHTINVERMONT,BERNIE'STUNE,etc ACCORDION. ~

SONGSFORSINGERS-Boak:::2 TOPTV RADIO' RECORDHIlS Fille i"" 36 great songs,IncludmgQUIETVILLAGE,WHEN ' ~ , THEWORLDWASYOUNG,MARIKA.etc.. ACCO.OIO" S0105 , . TINY8U88LES--lUIOVILLACiE-IIIUSICTOWATCH ... TOPTVHITTUMES CiIiLSIY_ QUENTIN'STMEIIIE_ ONE AIIIORE_ ' .' 29 lilt standardsIncludmgDREAMIT'SA EVf:lIYBOorsTALIIN', GOODDAY,HURRYONDOWNetc -I

~",~_~"\t'~

By Charlie Parker SAVOY 2201

J =324 C

G- C7 F7 C7 G7 D- G7 ~"t_

C 4

E E7 A7 A7

C D- G7 E- A7 D- G7 ~''1_

G- C7 F7 C7 D- G7

C7 D- G7 E- A7 D- G7 ,

C7 D- G7 E- A7 D- G7 "~ ./ ~

0- C7 F7 Bb7 C7 C7 111-~'f_ ~- 12~ , ." - I 131;~YI;~

C7 D- G7 E- A7 D- G7 14~ ?f 1- '1 , I

C7 F7 F- C C "I ¥ ~-'t-"'-\---B_Ii iii' i ..... UL: i _

C7 D- 16~'t ~E~~_ ,,_:~ l3~ 47 G- C7 F7 C7 C7 91'f~?~1-~'t§J5=if.ij~'~R

F ;~~~~f~'t\ -

D7 D7 G7 'l~~§

G7 C7 D- G7 E- A7 ~_*€J

D- G7 G- C7 F7 F- ~ ~~

C7 D- G7 C7 "~

Polynesian

Criterion's BookI Cri.terion's Authentic SOUTH SEA FOLIOS HAWAIIAN HAWAIIAN BOOK Songsfrom Hawaii,Tahiti.SamBa& Maori FOR ALL ORGANS Book ~1 _ SOUTHSEASONGS Book =2-50NI>5 OFPOLYNESIA SONG BOOK ,W.tl> 'ell'sl'~I'O.," for p,pe. [Iect", FOR PIANO. GUITAR & VOICE dod FTC Set Q,g3nS) Book =3 _ISLAND SONGS Complete words and music to 26 Complete words and music to 17 BOllk=4 _ MAORIMElODIES Hawaiian hit songs. Featuring PEARLY Hawaiian hit songs. including PEARLY Book=S-SDNGS Of PARADISE SHELLS, fOREVERMORE, MAPUANA SHELLS. QUIET VILLAGE. FAREWELL, Book ~6-SDNGS fRDMTHEPACIfICISLES NO HUHU. WAIKIKI. MAPUANA. etc. VINI VIN!, NO HUHU, I'LL SEE YOU IN Book=7 -SDNGS FRDMTHERDMANTICISLANDS HAWAII. etc. Book=8- TUNESfROMTHETROPICS Contains words and music for voice and all sin~le note instruments-ukulele. guitar, etc..

Criterion's Criterion's Book 2 ISLAND EXOTIC BOOK CRITERION'S SONG BOOK FOR ALL ORGANS lW,th ,eK,strat,ons 10' P,p ... EI"Gl .. ~ HAWAIIAN SING·A·SONG FOR PIANO. GUITAR & VOICE and Pre· Set O'gans, Complete words and music to 31 Ha LYRIC BOOK waiian hit songs. featuring TINY BUB· WordS & music and instrumentals of 15 Words to 84 Hawaiian favorites BlES. E MAllU MAl (Hawaiian love sxcnc Hit songs. Including QUIET ViL· New & Old Call). KAINOA, There Goes KEAlOHA, LAGE: MOUNTAIN HIGH, VALLEY LOW: OFF SHORE: SONG Of INDIA: HOUSE Includes TINY BUBBLES. PEARLY SHELLS, OFF SINGING BAMBOO. THAT'S THE HA· SHORE. QUIET VILLAGE. etc. WAIIAN IN ME. etc. OF BAMBOO. etc 48 Donna Lee

By Charlie Parker SAVOY 2201

J = 230 ~A'~ 1 'T'1. ,.,~

Bb- Eb7 Ab Eb- Ab7 ,~t.~

0'7~ 3~'D'"

~ B'- E'7 , -~

Ab 5~,~,~,~~

G9l' C7.L F- C7 6~.~1? - ~ ;z, It=D •

~ B'- E'7

6 ,~

Bb7J Bb7 st- Eb7

;

Ab F7 Bb7

F- C7 F- BO '~~\~- -

C- F7 Bb- J Eb7 Ab . ~ Bb- Eb7 6~'~

3rd Chorus ,,~~~~B~b7~~~~,\ -

Eb7 Ab7

(turn page) 50 Donna Lee - cont. Gb7 Ab

, II_'_I_~I .... _ 19~D' - ~- Eb7 20 Jt9~'t~

Ab F7 Bb7 Bb7 ~:::;;;j'?i;:::::::::;::;-;::::::I_---=-.,----7e _ 21 -., -

<¥ ~ to..- F-_ C7 "' __ 221i===-=~- ~!t-\, - .,..,.~"

C7 F- C- F7 "~1i_

Bb- Eb7 Ab Bb- Eb7 Ab Z4~'fit_,I 7A M -- .. I n. ,,·n- _ ~

ORGAN==

ORGAN fOLIOS ORGAN SOLOS 14 HITSForAllORGANS GreatStandardsarrangedby BenKendall. QUIETVlllMiE - For HammondOrgan PACIFICISLAND11m ForAllORGANS PURLY SHELlS- For All Organs 17 Islandfavoriteslike TINYBUBBLESarrangec1by TINYBUBBLES- For All Organs BenKendall., ...... EXOTICHITSfor AllORGANS 15hits like QUIETVILLAGE,etc.. HAWAIIANBOOKfor AllORGANS Standardslike PearlyShells,etc.. TOPTV,RADIO& RECORDliltS For HammondChordOtgan¥lith words & music lor Dream.MoonlightIn Vermont-phis21 morehils. Criterion's Criterion's Authentic CRITERIONORlaNHilS For the Pre-setand SpinetmodelHammondOrgans. EXOTIC BOOK HAWAIIAN BOOK 19 hit songsarrangedby Marklaub FOR ALL ORGANS FOR ALL ORGANS (Willi rellislr:at,ons fo' Pipe. Electric CRITERIONORGANHITS :and Pr.Set Oraans) (Wilh ,el;slratio"s for Pipe, Eleclric :and Pre·Sel Oraans) For all WurlilzerOrgans.19 bit songs arrangedby Words & music and instrumentals of 15 Marklaub. Exotic Hit songs, including QUIET VIL· Complete words and music to 17 LAGE: MOUNTAIN HIGH, VALLEY LOW: Hawaiian hit songs, including PEARLY EARLCRANT'SfAVORITES OFF SHORE: SONG OF INDIA: HOl,lSE SHELLS. QUIET VILLAGE. FAREWELL. For the HammondChordOrgan,Words& music to 27 OF BAMBOO. etc. NO HUHU. WAIKIKI, MAPUANA. etc. top songs rec:ord~d by EartGrant. 51 Kim (No.1)

By Charlie Parker VERVEBOOS/VERVE8840 J = 320 Bb7 c- F7 D- G7 c- F7

1 l' - I

2~~ -" I

Bb7 c- F7 D- G7 c- F7 '~~Y~

F- Bb7 Eb7 (cb) Bb7 Bb7 ,_,I - U

~ ~? 5 ~ I 61G7_~

~7 c- F7 I>- G7 7 ,ij'f_

c- F7 Bb7 Eb7 Bb7 G7 8~?~"~~? ~ (turn- page)I

e 1956 ATLANTlC MUSIC CORP.

c- F7 Bb7 c- F7 D- G7 9~m=O~

c- F7 F- Bb7 Eb7 Eb- D- G7 "~~-

c- F7 Bb7 c- F7 D- G7 lll-~

c- F7 F- Bb7 Eb7 (cb) Bb7 "~

Bb7 D7 D7 G7 lll-~il

14\m~~-, tt'1 ;, ~ J 3

F7 Bb7 c- F7 D- G7

C-F7 B'7 .~ 16 1 - I- T tot . """

c- F7 Bb7 c- F7 D- G7 171-'7'1~'-1 53

c- F7 Bb7 Eb7 (cb) Bb7 Bb7 181!'(~-~

Bb7 c- F7 D- G7J C- F7 19~

F- Bb7 Eb7 (cb) Bb7 Bb7 "jgjW_ 1?I- I

D7 D7 G7

11 7t - I

C7 C7 C- F7 "~.1?~

Bb C- F7 D- G7 C- F7 .~

F- Bb7 Eb7 G7 C· F7 Bb7

:4 3- ORCHESTRATIONS

SMALL ORCHESTRATIONS

illinois Jacauers D',zzyG,llesp',e's MODERNSOUNDSERIES berry MUlligan's MULlIGANETTE$ ROBBINS' NEST THE CHAMP Charlie Parker's BERNIE'S TUNE_WALKIN' SHOES Coleman Hawkin's COMFIRMUICH_ YARDI.ID SUITE NU;HTS AT THE TURNTABLE STUFFY SOFTSHOE- FREEWAY MOOSETHEMODcHE- OItNITHOlOIO' Lester Young's SCRAPPLEFROMTHE ","PLE JUMPIH' WITH SYMPHONY SID DEWEYSQUARE

STANDARDDANCE OICH£STlATlONS IUTUMNCONCERTO MAliNA (My Hearl Remonds Me) MOONLIGHTIN VERMONT 'ERNIE'S TUNE Off SHORE DRUM QUIETVILUGE INTERMiSSiONiliFF (AT) THE END (OF ... IT'S'" CODD DAY RAINBOW)

QUANDOLALUNA(Smallarch.! 54 Kim (No.2)

By Charlie Parker VERVEBOO5/MGM4949 J = 320 ~- F7 I>- G7 C- F7 , . I 't-~

F- Bb7 Eb7 Eb- Bb C- F7 '!=il!z;'1_ - "?: ...~

F- Bb7 Eb7 Eb- Bb Bb

4~ ., - 0

A- D7 G7 G73 5~

Bb c- F7 D- G7 c- F7 7~?t~ ~ ~ - I

F- "7 ~7 "7 G7 C- F7 81 -?t) j 7 I- ~ - D

Bb c- F7 D- G7

F- Bb7 Eb7 D- G7 C- F7 ~?,-~~

Bb7 C- F7 D- G7 C- F7 ~?t~~}I-

F- Bb7 Eb7 Bb Bb ~71-11

A- D7 G7 G7 ~~-l-_

., c~ F7 D-~ \Eij'~-17 . I

F:; Bb7 Eb7 Bb G7 C- F7 ~'I-"~.,.

Bb C- F7+ D- G7b9 .~

(turn page) 56 Kim (No.2) - cont. c- F7 F- Bb7 E~7 Bb "!ijtT~ I

c- F7 Bb j c- F7 Bb G7 19 1 - ~ - I ! c- F7 F- Bb7 Eb Bb G7

2O__ ·IZ_~1

c- F7 ~D7 G7 G7 211 - V.

~ C7 ~ " "~"71 - ~

Bb C- F7 D- G7 C- F7 "~?fJf~

F- Bb7 Eb7 24§ '7

Bb (PIANOSO~ (PlANO)32 (DRUMS)32

Bb - C- F7! D- (Db-) G7 C- F7 20~

F- Bb7 Eb Eb- Bb G7 C- F7 27~'1 - I 57 Bb C- F7 D- G7 C- F7 Il'·~-_

F- Bb7 Eb Eb7 Bb Bb ~'t-~ , . ~ A- D7 G7

C7 C7~ ~?I't

Bb C- F7 D- G7 C- F7 .W¥if!t~. l',~

F- Bb7 Eb Eb7 Bb '~?t~

,~;, G

I I

A GUITAR METHOD THAT A SHORT CUT- TEACHES READING & PLAYING -NOT A GIMMICK INSTANTLY! AN APPROVED MUSICAL METHOD ~ YOU HAVE TO SEE TO BELIEVE! GUITARMETHOD Endorsedby: 1'· For: THE BEGINNER I,': BARNEYKESSEL THE SLOW READER THE "PLAYBY EAR" MUSICIAN JACKMARSHALL GEORGERUSSELL Contains these solos- "THESEBOOTS AREMADE FOR WALKIN'," "LET THE GOOD TIMES ROLL," Edited by "HOUSTON," "TINY BUBBLES," and 15 other hits. " -; Burdell Mathis 58 Cheryl

By Charlie Parker SAVOY 1101

J = 180 Blues

-' C7 F7 F7 C7

'-E- t A7 D- G7 C7 3~~~77~'1~

1>- G7 C7 C7 C7 ~ 4~-~-\'t~ - .." F7 F7 C7

5 - ~"f~ - -- _.. .."

A7 D- G7 C7 6lt4.,- 1'7 ,-1

D- G7 C7 F7 C7 ~ - ¥ - I '-'" C7 81 - ,fl==l

59 ~~~ II -I't J

D- G7 C7 D- G7 C7 ,I - ~__f~_1 ._-\-cr C7 F7 F1 C7_ ""'" ~

A7 D-

C7 D- G7 C7 :~ 7t -) T ~"- B ~ ~

GmTAR

GUITAR FOLIOS "lOOTS"FORGUITAR :~:T:':OS ~ Guitararrangementswith completepartsfor Soloand RhythmGuitar ::ACIOUS.. AHliITIEIIWTlDII IUUElIAS1 CAICIUN 0 FROMTHERDlIAHTICERA ~ Concertguitarsolostranscribedfrom TEllIACAI laurindoAlmeida'sCapitolalbum,musicof Beethoven,Greig,etc. BOSSACUITURA Six solos by LaurindoAlmeidawithlead line andchordsymbols GUITAR BOOkS SURfIH'GUITAR Surfingsongsarrangedby JimmieHaskell CUITAR1UTOIIby LaurindoAlmeida 'or pianosoloandguitarsolo A completeConcertGuitarMethod. coumty 1U1T.. THEcurrARby BarnerKessell Hib fromItIeCountryField A uniqueguideforBuitarists fDLlSYSOIIISfaR em•• (Simpleto Advanced! "MfA". "Philldelphi. llWYtf". etc VENTUREFOLIOS 2t UUT HIES FGICUlT•• (Pick Style) 39 GreatArrangementsby Danfox,featuring Book#1- Hits 1111WAllIlOll'Tnil "MoonlightIn Vlnnonr ... #2 _ Hitslib JOUIlll1EYTOTHESTARS OSCUMOOIECUlT.'SOlOS .... #3-HIts Iae JOSE,INSTANTGUITARS 8Iak #4-Hits I•• DIAIIIIIIDHEAD,ClIllSO 60 Thriving From A Riff

By Charlie Parker SAVOY 2201 J c- F7 Bb c- F7

1 '-'

F- Bb7 Eb EO Bb c- F7 '~-~

B' "" C- F7 ~ 3~?t~ - _ E' B' B' 4 'tl- 't-D

D7 G7 G7 5D'¥ i I

6~~-~~~~~~

Bb c- F7 Bb c- F7 'U.!,-!- ~

F- Bb7 Eb Eb- Bb c- F7

'~-! - I

F- Bb7 Eb EO Bbc- F7 ~.'fl - I

C-F7"~ ~?-., ~-I m._ am_l

~J@F7_ 0

.,~.,~ i~ "'t a

F- Bb7 Eb Eb- Bb c- F7 Bb ;~ 62 Ko Ko

By Charlie Parker SAVOY 2201 J = 308 l~~

21 'r - ~

38 I•I I- '?', ~

4~7,>1-~ 00

,m7j'j~ "7 f ~---I

6 '-I 0 \3 J- I

Bb 7~"t.~

Bb F- Bb7 Eb '~ll-~'1~

e 1946 .ATLANTlC MUSIC CORP. e Renewed and assigned 1974 ATLANTIC ~lUSIC CORP. e ATLANTlC MUSIC CORP. All Bights Reserved. ,

! 63 Eb Ab7 Ab7 Bb ~ 9'- eM \•

Bb C7 C7 C- J o~ -lf~?t'58

Bb F- Bb7 Eb '~-I'1~

Eb Ab7 Ab7 Bb .~1tI- ~

Bb J C7 3 C7 c- 4~-~7t~

F7 B' B' cs- ~ 15~"t1 - ~}j

F~7 B 2 B- E7 L6~ I If

A A A- D7

17 -~?r I

,,~~-~; =:0mP: 64 Ko Ko - cont. c- F7 Bb Bb "~""l- I

F- Bb7 Eb Eb 201-~- I

Ab7 Ab7 Bb Bb "I~ , .

C7 C7 C- F7 Bb 22~ - \ - N.l " EJ .. I -' '--""" .. - 231~C~-~~~7~~~

Bb7 Eb Eb IfJ Ab7 24.~1~ Ifl - '.

Ab7 Bb Bb C7 25~

C7 C- G7+9 C- F7 26k@ - 1- ~g-~~ b '"

Eb Eb Ab7 Ab7 "~.- I 1

B'~C7 ss l~ - - I

C- F7 Bb Bb )I-·~:p-II ,_-IC#- F#7 B B

B- E7 A A 'Il'~- ~ 3IA-_~~~

4@~~"'7'-

Bb Bb F- Bb7 5~!f1 - I

Eb Eb Ab7 Ab7 '51.-~~~

Bb Bb C7 C7 "~J - I ~ C-__ .s:.u: 38 . , ...v- - . -

68 Marmaduke

By Charlie Parker SAVOY 2201

J = 208

G- C7 F G- C7 F

2 17'., '1~ 3~

' __ '1~- I

F C- F7 Bb 5~-1-"~ 6~-~ , .! 7_C7 ~ G- G- G-

G- C7 F G- C7 F

8 ? - I

Solo 69 A- 07 G-~

G- C7 F G- C7 F 1O~!~'1

A- 07 G- G- '11 - ~'fm'V!B-~

G- C7 F G-

\01"

FC- ~ 131 - ~'t

Bb G7 G7 G- "m,-~ , 8 ~~ 5 . :t'~

G- C7 F

.6 ~ I

A- 07 G- T~pr: 31 .7("?~ -, I r 0

... (BRIDGE) -cT ANI" 11; 'DRUMS2 Bb

~ (turn page) 70 Marmaduke - cont. • , G7 G7~ 19~-\ ., -

~. o- o- ~ 20 ,

G- C7 F G- C7 F

Barbados

By Charlie Parker SAVOY 1101 J = 168 Blues F G- C7 , F7 4 r- ~

C- F7 Bb7 Bb7 '1"1~!'1~ I

F F G- silO ~ I '1 ~ 'I i1I I

c7b9 F G- C7 mF~"'pi4~ 4m i j

F7 G- C7 F7 ~~I

V ~ ~B'7_li~

F~ ~ ~ __ _ ~.S'~~~~I 3 ."c+.. --- F7 F7 c- F7 Bb7 ! _I-~ , Bb7 02I-AY--.-u---, F7 A- Ab- G- ..-~-

C7 F7 G- C7 F7 ·_~T-~

SHAPING FORCES IN MUSIC By Ernst Toch An inquiryinto harmony,melody,counterpointand form. A complete advancedmusiccoursenowbeingusedby manyleadingcollegesastheir text book. 72 Perhaps

By Charlie Parker SAVOY 2201

J = 200 Blues (Head) C7 C7 C7 C7 - F7 F7 C7 E- A7

D- G7 C7 D- G7

'-Solo C7 C7 C7 G- C7+ 'w-~

F7 F7 C7 C7 A7b9 '~-~

~C7 a ~G7 6 . ~ -m!tl-~

F7 F7 A7b9 '~ Jl- C73

C7 C7 C7

~,-~

D- G7 C7 G7b9 j C7 ~'l_'tl

NEW HOT DISCOGRAPHYby Charles Delaunay CRITERION'S BOOKS" The standard directory of recorded jazz. Titles, JAZZ PUBLICATIONS personnel, dates and numbers of 20,000records. 608 pp. Price $24.95

FIRST CHART by Van Alexander (Edited and Contributed to by Jimmy Haskell) THE STECHESON CLASSIFIED SONG An important elementary arranging book. Fea DIRECTORYby Anne & Anthony Stecheson tures step-by-step instruction to help musicians A classified directory of over 100,000song uues, through that "first chart." Includes all the 395 dillerent categories. Used by every major modern styles, Jazz·Rock, Blues-Rock, Contem record company. 503 pp. porary Latin, etc. Includes a record of two of the incl. 68 pg. supplement Price $40.00 charts including John C. Fogerty hit lor Credence Clearwater Revival, "Lookin' Out My Back Door", 112pp. Price $1••95 ------CHARLIE PARKEROMNIBOOK 60 Recorded Solos - 4 Books THE PROFESSIONAL ARRANGER COMPOSER Eb... C ... Bb ... Bass Clef (New!) (BoOkOne) by Russ Garcia Price $11.95 Text book used by leading schools. Basis for course lor practical arranging and composing in the commercial field. For the advanced and pro Newl CHARLIE PARKERFOR PIANO fessional arranger. 172pp., 1951 Price $14.95 15 Plano Solos Based on His Re<;ordlngs Arranged by Paul Smith and Morns Feldman Price $7.95

THE PROFESSIONAL ARRANGER COMPOSER (Book Two) by Russ Garcia ------Discusses contemporary trends in Jazz, Pop and "Modern Classical" Techniques. New scales, CHARLIE PARKERFOR PIANO chords etc. using tone rows in practical music. Contains a record of many of the 169 examples Recorded by The Paul smith Trio and the recording of a complete,score of a comp Cassettes available $8.18 by mall osition by Garcia. 91 pp., 1978 Price $14.95 CRITERIONMUSICCORPORATION 8124sel .... Avenue,Hollywood, CA 9llO28 74 Now's The Time (No.1)

By Charlie Parker VERVE 8840 For Melody see Now's The Time (No.2) - page 76 J ; 132 Blues ,~ .~F7

B~7 F7 D7 21- ~~ ~ _C7 3m.,-~'I - ,,;go \",.00 ~F7

4 . -'

B~7 'it B~7 F7 -. . A- D7 5~7?-~ '"

6 I

B~7 C7 F7 F7 71 - ~ ?'f~

F7 B~7 B~7 F 4 ~ 8~"• g

A- D7 G- C7

C7~ w=tbJ,\f

Bb7 F7

G- C7 F7

IC~~

Bb7 F7 F7

~ C7 F7 G- C7 F7 .~

UNDERSCORE ByFrankSkinner A completecourseinscoringfor motionpicturesand television,featuringan actualscorethat waswrittern,arrangedand recordedfor a motionpicture,with timingsheets,orchestrasketchesand orchestrations. 76 Now's The Time (No.2)

By Charlie Parker SAVOY 2201 J = 220 Blues (Head) ~ rl F7 st 1 I I I- .,,, ~;pg

F7 F7 Bb7 Bb7 BO '~

F7 C7 F7 F7 i •• 4§j+¥i't ,- D 't

F7 J F7 Bb7 Bb7

5~ ., \-\ -~. ~"I

F7~ 6Ijj?f\-¥9~G- C7 ~ '-'

t- "-

I 0

t O 78 Buzzy

By Charlie Parker SAVOY 2201 J = 230 ,~B"_I

Eb7 Eb7 Bb7 G7 2~"~-1

c- F7 Bb7 C- F7 3~'t'~-'~

Bb7 Bb7

I'J~-"",,-,

"";b7 Eb7 Bb7 G7

C- F7 Bb7 C- F7 6~-~'~

Bb7 Eb7 Bb7 Bb7

7 ,\-DiE \ollI'

Eb7 Eb7 Bb7 G7

9~'t'f~-:c- J F7 Bb7 . C- ",.

Bb7 Eb7 Bb7 F- Bb7 "Ifr"f_

Bb7 Bb7 Eb7 Eb7 DELAYED i 11~?(_~g!1

c- F7 Bb7 c- F7 Bb7 ,,~

CHARLIEPARKEROMNIBOOK ForEFlallnslrumenls 80 Billie's Bounce (also known as BILL'SBOUNCE)

By Charlie Parker SAVOY 2201

J = 165 Blues F7 Bb7 BO

- - - - ..."

2~1If"'fn_ -.", ,-F7 A- D7 G- C7

F7 D7 G- C7 F7 F7 4~

F7! c- F7 ~Bb7 Bb7 '~'7I-"t'~

F7 A- D7 G- C7 6~-Mt'!~

F7 .j C7 F7 F7 7~"\ - IJS' "

F7 C- F7 Bb7

1 • "'"

F7 07

F7 C7~ ~~J

C- F7 Bb7

1 1Z1-'~

DELAY£]) I

F7 07 G-- C7 ~ ~

F7 C7 F7 Bb7 '~-~~

F7 F7 Bb7 Bb7 i~ - 11t I .,,/ ~. \0000"'" \0000"

F7 07 G--

;

6 ~ 't - I '-" 82 Chasing The Bird

By Charlie Parker SAVOY nOB

J = 210 ~C,

1 ~I ~~ ..... ,

IZ'G- C7 F E- j A7

3~ - ~1i'1~~SI

4 ~"'~'\• .,

G- ~ F G- ~ 5~'~

F D7 G- C7 F7 Bb BO 6~~'~ ,_-IG- C7 F F G- C7

~,c- F7

6 ?~

Bb BO 3 A- 3 D7 G- C7 F

W·I"f'_G- C7 F J G- C7 c- ~ F7

Bb B." F F E~ ~ mJ ??~I - ~'t"1 3 '~'>~

G7 G- C7 F ,g,1F"'f~

G- C7 F G- C7 . c- F7 'I"f'~-'~

Bb Eb7 F G- C7 F 'DELAYED ---.. 84 Blue Bird

By Charlie Parker SAVOY 2201

J = 125 Blues Eb F- Bb7 G- C7

2 ~ q - I

3)~:~., - " - I ~C,~ 4 ;z- "-1

~ "., TRPr. 24 5 - ~ I I ~ - ~

Eb7 Ab7 Ab7 Eb7 '~}"-~7~'1

!) 1948 ATLANTIC MUSIC CORP 3

'~!f:'~

Eb7 Eb7 Ab7 Ab7 1O~1t'l~ - I - I

Eb7

L2~ 86 Ah-Leu-Cha (also known as AH LEV CHA)

By Charlie Parker SAVOY 2201 J = 190 Melody- Miles Davis G- G- G- G- 1 ~ .i. G- G- 1Il I(

Ii. Bird I G- F j E- A7 '~?-

4~ 1#r - I;~r~ 'q~ I Miles Davis 5~

G- G- G- G-

Bird Solo '_IG- ~ G- C7 F G-

G- G- G- F7 J 8 1 - .,,_

e 1948 ATLANTIC MUSIC CORP. C Renewed and assigned 1976 ATLANTIC MUSIC CORP. C 1978 ATLANTIC MUSIC CORP. AllRl!d>lsReserved. B~7 J ~ A- D7 G- 87 -

G- G- C7 F7

\.-.'

B17~ F7 I F7 E- II '~'t~

~m 't'1~''f~m G7

~-.- .-1'G7

G- G- C7 F7 SfW7~71

BI7 p~ ~.~~TRPr.SOLO 1 -.., ''1' - I ~

15 PlANO 16 ;1 I I" t $H

G- G- G- G- C7

7 ''t DELAYED , F7 B~7 F7 F7 D7 ''1~ ._- . (turn page) ,88 Ah-Leu-Cha - cont.

19~

G- 6 C7 F7 Bb7 20~

F7 F7 J E-~ 21~?i - I

7 G- G- G- G- 22\' I

G- G- J G- C7 F

23 ., - I , 89 Klaun Stance

By Charlie Parker SAVOY 2201

J = 300

F D7

c- F7 Bb Bb (Eb7) ~-l'~

;~1t-~:~ ~ s

c- F7 Bb Bb- (Eb7) '~

F Ab- G- C7 F ! Bb- Eb7 g~"tl- ~ : ~ - OUrnp"g" ~ 1948 ATLANTIC MUSIC CORP. e Renewed and assigned 1976 ATLA.NTIC MUSIC CORP. ~ 1978 ATLANTIC MUSIC CORP. Al! Rights Reserved. 90 Klaun. - cont. A'~ 9~ , ! ~7'_. 10 • 't I

~ (C'-) J ~ 11 't~'t

Ab! Ab G- C7 "1'Tf~'~

F D7 G- C7 "~¥~I

F D7 G- C7 "~ - 't ~

C- F7 Bb Bb- (Eb7) "I:t'w:¥~

A- Ab- G- C7 F (C7) 16~"1 -

(C7) F A- Ab- G- (Gb) "~-

F TRPr, SOLO 67 1'!ANaSOLO3J ISW- \¥ ¥ I\- 't.,~ 91

A~ F7 (AO) B~- E~7

A' n

B~- E~7 A~ 1RPr. SOLD 3 L~7·1 I 19

F D- G- C7.."", F D7 ,~.m

3~11:~

B~ (A- A~- G-7 C7 A-7 D7 4~

G- C7) F G-7 C7 ~ E"¥¥-_,. I 92 Card Board

By Charlie Parker VERVE 2501

J = 210

1 ,~,~ ... 3 ,-c EbO ~ m

D- G7 C Eb O D- G7

4 9 ~ ~ wi' ~

~ n- G' 5 . Y~~~

_. ~G-~ 6 9J§

F Bb7+4 C Ebo '~"~'1~ 8~

c Ab7 Ab7 -- Ab7 Ab7 G7 c D7 G7

c D- , D- D- c

c Ab Ab7

F --- c (Eb-) ~ D-

.." f7' - ~ ~J Bird Gets The Worm

ByCharlie Parker SAVOY 2201

J = 340 ~G-~ 1 ...., '1-

F- ~ ~~FO FO 2_~_ _==== -~~~

Ab Ab Bb- Eb7 '~-~'T'~'TI

Ab Ab7 Db - Db- Ab Eb7 41' ? -, - ~

A'~.G~C7 5ij¥ ... 6~'.

Ab F7 Bb Eb7

7 3 8IA'_~~~

I!:) 1948 ATLANTIC MUSIC CORP. I!:) Renewed and assigned 1976 ATLANTIC MUSIC CORP. I!:) 1978 ATLANTIC MUSIC CORP. An Rights Reserved. ev-... F·

9~'t-~- %1

~ ol-~tC7 C7

F- F- Bb- F- '~-I

, -.. Bb7 Bb7 Bb- Eb7 i21- 't9~ - U

Ab Ab G- 13~jJ~-_

F- F7b9 F7b9

L4 .,Ji,

Bb- st- Bb- Eb7 15~- I

Ab Ab7 Db Db- Ab Bb- Eb7 16~1t~

Ab Ab TRPr. 62 17~ '?' -\ I I n

1'!ANO 64 SASS~'PRUMS 1G Wi $\\ I , I (turn page) Bird Gets The Worm - cont.

A~ A~ G- C7 19~1'_

~ ~ 3 20 00 ,? \ I I U

B~- B~- B~- E~7 211-~t- ~1f. I 22~

BARNEYKESSELPUBLICATIONS THEGUITAR Amethodby BarneyKessel (spiralbound) BARNEYKESSEL- PERSONAL MANUSCRIPTSERIES #101-LONELYMOMENTS #102-ETUOE#1INAMINOR #103-LEFTHANOGYMNASTIC #104-THEVERYFIRSTSTUOYIN SYNCOPATEORHYTHMPATTERNS #105-THEVERYFIRSTWARMUPS #106-BLUEBOY 97 Segment

By Charlie Parker VERVE 8009

J = 260 B~- c- F7 B~- c- F7 1~"1~'"

9 B~- F7~9 B~- F7+~9 2~-'t'1~ ...., B~- c- F7 B~- c- F7 2~?t_

B~- F7~9 B~- B~- 4~-D '_1F- j B~7 E~- E~- E'-~ 61- 't U . ~

B~- c- F7 B~- c- F7 7~

B~- F7b9 B~- F7~9 8~iji~~t:.,1

gll?fq==\~ - I

B~~n 10 I- WI .,1- 'f.

Bb- c-· F7 Bb- J c- F7 n~'_t~

Bb- F7bg Bb- Bb-

12 lo~ , I - i "'"J

Eb- Db l F7

Bb- C- F7 Bb- C- F7 15~tl-~ ~ I

Bb- F7 Bb- F7

16 ,I· ~ 99

Bb- c- F7 Bb- c- F7

7 t- I,.~

Bb- F7 Bb- F7 s~-,~ - e ,_IBb- C- F7 Bb- C- F7

Bb- F7b9 Bb- Bb- Of- ~'tl- .,.

F- ~ Bb7 Eb- Eb- l~-I """ Eb- Ab7 Db J F7 '~-'t@l ".f~'r~

Bb- F7b9 Bb- F7 Bb- l4 ,- I Visa

By Charlie Parker VERVE 8000 ,NERVE 8009 J = 200 Blues C7 F7 C7 C7+ 1~ 'wi ,-" F7 C7 M

D- G- C7 1~71 3~~ f~

/Z07 C7 F7 C7 '~I

G- C7 F7 F7 C7 51- 'f~f;t'l~ 6~-1·;~

~G7~ 7 1'~ •

F7 C7 G- C7 F7 8~1-~

C7 C7 n-

G7 ! C7 3 n- G7 C7 lo~.,I-,~ ~ lIP'F'_ . trfiB

F73 F7 C7 C7 A7 l2~'- ll~_~

C7 D- G7 C7 :3 L3~

w 102 Passport

By Charlie Parker VERVE 8000/VERVE 8009 J = 220 Bb c- F7 Bb c- F7

F- Bb7 Eb Bb G7 c- F7

Bb c- F7 Bb c- F7 '~

F-

D7 D7 G7 G7

Bb c- F7 Bb c- F7 7~~iP

Solo begins F- Bb7 Eb Bb G7 C- F7

Bb c- F7 Bb C- F7 1~~

F- Bb7 Eb Bb Bb '~-f'l~

D7 D7 _ ,~ ~7?J1

F7 Bb C- F7

C- F7 F- Bb7 Eb '~ 104 Another Hairdo

By Charlie Parker SAVOY 2201 J = 184 Blues I Bp7

(F7)

Bb7 Bb7 Bb7 Bb7 7~!f~ ., 8~!ft-~

• 105

Bb7 F7

Bb7 Bb7 Bb7 F- Bb7 \"~ ) -

Eb7 Bb7 G7

~7 ~ ?r-I'*~c- 2 ~ 'ell

Bb7 Eb7 ~7 Bb7 '1fr?~71

Eb7 Eb7 Bb D- (Db-) "I'¥'1~ . .", ~

F7 c- F7 Bb7 15ij"t'1 ~ 106 Back Home Blues

By Charlie Parker VERVE 8840/VERVE 8000/VERVE BOlO/VERVE 2515 J = 192 Blues

C7 F7 F7 2'''b~\14~

C7 E- A7 D-J ~ 3~'t~",~

m C7 ~ m 4~''t~~~

C7 C7 C7 5'~~~

C7 J_ I .-.!7 F7 LAYSACK.

6 'I ,I • J

C7 C7 D-

7 ~ G7 C7 D- G7

E- A7 D- G7 G7(b9).s ~~ Ir~;;~I

~ C F ~G7 12 Jt T"~7~ ~

C G- C7 F7

II;"_ .. D....._Ia"l(LoI ... _· .. - _.W-

F7 C E- A7b9 D- .~-I·~

G7 C7 G pedal C7 5~,"I-~q~

F7 Gbo C E- A7b9 7~'t1·~_ j j ts 108 Bloomdido

By Charlie Parker veRVE 8840/MGM 4949/VERVE 8006/VERVE 2501 J = 240 Blues 1. Bb Bb7 Bb7 Bb7

Eb7 Eb- Bb7 Db-

G7bg c- F7 ~7 '~ C-§F~7~~~

F- Bb7 Eb7 Eb7

Bb7 J G7 C- F7 I ~,,-

Bb7 C- F7 Bb7 Bb7 r'\

~ ),

Bb7 Bb7 Eb7 Eb7 J

~ ~"'1~

Bb7 C- F7 Bb7 a Bb7 ''f~

Bb7 Bb7 Eb7 J Eb7 J ,~~,~

;~~

F7. . c- .J. F7 Bb7 6~ 7 "1?j- ~ 110 The Bird

By Charlie Parker VERVE 2501 J = 224 c- Dl6 G7 c- Dfli G7 '~'f!'~"?I~~~-

c- Dfli G7 C- c7b9

2 -~

c7b9 F- F- F- '_Jl~-~~~ ~

C- C- 4EL-cJ~~- \-

C7 c7b9 F- F- 5~!-

C- Dfli G7 J C- G7+9 '~j!~"?- 1- 't¥ ~

~------~ 111

c- ~ JG7 G7 C7

i :::IIlIJil1 I _ 19~ - 17f~-----'1

11 ~ , I

c- G7b9 c- c-

13~

F- ~ ~7 Eb 14~-11't~

07\' (}- _ 07 c- J 15~"lf't . ~

~ G7b9 c- ~ G7

16~i p1 I I I ., - \f~

c- ~ G7 C------.~ 17-'-· ~I' .. ~t 112 Steeplechase

By Charlie Parker SAVOY 2201 J = 176 Bb c- F7 G7 ~ c- F7 , . / ~ ~ 1 , , fi ~tj'1 • ""; .- 1.1 .-~.+ • "'

D7 J D7 G7 G7 3D-_~~~-

~F7

4 !t~ .3 I 5~~T~~~

Bb C F7 Bb7 G7 C- F7 Bb7 6~'~- I

Bb7 C- F7 Bb7 G7 C- F7 7~

F- Bb7 Eb7 D- G7 C- F7 3~

113

B~7 C- F7 D- G7 J C- F7 9~

B~7 E~7 B~7 B~7 F- ~ ... 01 p?"f. "II" ~.~ .. I ...... m~ G7 1~"''1 ~il twtI

C7 F7 F7 2\ ,

B~7 C- F7 B~7 G7 C- F7 '~ 9~Ii i lac: 'rU£ 1------i _

B~7 "TRPT:sOLO--- ~1 114 Diverse

By Charlie Parker VERVE 8009 J = 260 B~- B~- I c- F7 c- F7 h 1 - , - I I 1 ...... - V· - 10- - I H'I "'""

B~- c- F7 B~- c- F7~9 '~1!¥~ ...... B~- F7~9 B~- B~-~ 4~-~

~ B~7 E~- _ E~- 5~~_ __ -----=~-I'~ & E~- A~7 J D~ t F7~9 '~

B~- c- F7 B~- c- F7 7~?r~

B~- F7~9 B~-

Bb- c- F7 115 9~- ~ I -~_ -- Lit.. ,~ ~ 1111 )

Bb- F7b9 Bb- F7 I "0 - "10 yr ~.,r ,..y.., p. I~~ V· : ; 'wi" .. Bb- c- F7 Bb- c- F7 '_,-,~

Bb- F7 .. • B~ Bb-

2~ - \,,_ ~

F- J Bb7 Eb- Eb- ,-,--.----. iii iii i I i _

Bb- c- F7 Bb- c-~ _5Qj't- ~ ..... I _ ,\ - a'-""

Bb- F7 Bb- F7 16~- ~qf't~7~

nt- c- F7 Bb- c- F7 17H'~

Bb- F7 b9 I. Bb- F7 ~~.~ -~, lSW ...... - 1- . Io....J (turn page) 116

Diverse - cont.

Bb- c- F7 Bb- C- F7 ,,-,~

Bb- Bb- Bb-

F- Bb7 ,,~ J

Bb- C- F7 Bb- C- F7

Bb- F7bg Bb- F7bg Bb- 24~-1 ~

117 Merry-Go-Round

By Charlie Parker SAVOY 2201

J = 300 Bb Bb (C-) (F7) Bb G7

c- F7 F- Bb7 Eb Bb 2~

c- F7 Bb ~ ---I

c- F7 F- Bb7 Eb EO Bb '~~]

Bb F- Bb7 Eb

C7 C7 C- 6~ ~ I. I ~ ...... "\\ I~ r ~-;",~".q ...... ) "Vi

F7 Bb C- F7 Bb 7~ ~7_

C- F7 F- Bb7 Eb EO Bb '~?I~~~=:~~) e Renewed and assigned i976 ATLANTiC MUSiC CORP. e 1978 ATLANTiC MUSiC CORP. Al! Rights Reserved. 118 Merry-Go-Round - cont.

c- F7 Bb

c- F7 F- Bb7 Eb EO D- G7 ,,~tl

c- 11\-

F7 J f", F- Bb7 12~-

Eb C7 C7 c-

~ •

n Bb c- F7 D- G7 15~?j. \ -

c- 3 F7 F- Bb7 Eb EO Bb G7 16~

c- F7 Bb 31 .~

119 ~ 32 ;K I

Bb c- F7 Bb C- F7 I~=r ~

F- Bb7 Eb (cb) Bb C- F7 1~1f~ '~f~'~ 3

Bb rTRPr.solO' 2 - ~ - !"n

F- Bb7 Eb Eb 3~

Bb c- F7 Bb c- F7 Bb "_'7-1 3 120 My Little Suede Shoes

By Charlie Parker VERVE 8000/VERVE 2515

J = 148 (Head) F- Bb7 Eb F-

F- Eb Ab G- C7 4~~'l~71

F- Bb7 Eb F- Bb7 G- C7 ,~-~·oo

Solo 7~~~~¥~§~F- Eb

".; V Eb F- j Bb7 G- C7

121

~B'7 E'

9 V -~

F- Bb7 J Eb F- ~ Bb7 o~-I , b .1~

Eb Eb7 3 Ab G- C7 2IJ'1~~- ~

F- Bb7 Eb Ab G- C7

13 t't*~

F- Bb7 Eb F- Bb7 Eb "~-I,!I ! I It r!! I ; _

F- Bb7 Eb J ~ • F- Bb7 ~.,. ~ I, f • , II 15 .-. ~ 3 , 3 16~C7~b F- ?~ 't - ~

•• • Ll

-J: __ 4~ € 40 L4V LV _Ji-~" La La La r La e ~Wi~";l' 1'~4\4~'~ ~ L4V -4a -a -J: 4Q L4a

£61 124 Blues(Fast)

By Charlie Parker VERVE 8840/VERVE 8009/VERVE 2501

J = 265 4 Bb7 Bb7

Eb7 - \ -

G7 -

F7 -

125

F7 Bb7 Eb7 Bb7 MgJ-~

1- ¥m

Bb7 (Db-) c- F7 J Bb7 ,~-~~, F7 -

Bb7 Eb7 Eb7 Bb7

c- F7 Bb7 ~ 3

(turn page) 126 11 F7 17 ~ 1

Eb7 Eb7

20 1 •

Bb7 c- F7 Bb7 ~ "Itt 1't _ ., 1 '1~'1 ~ 't I

aa "" 127

B~7 c- F7 25~'\-~~

F7 3 26§

Bb7 E~7 B~7 "- E~7 28~ ~

29~. 1'- ~ 128 Shawnuff

By Charlie Parker and John 'Dizzy' Gillespie PHOENIX 17 JAZZ J = 326 8 Bb- cb

Bb- cb

~ '~~l~-~~~'1~\-

~ 4~~-m~~- 't ,-Bb c- F7 D- G7 c- F7 J

l , C7 C7 ~F7 " - '7"7~~ ,,;

~:~ ~ ~

c- F7 D- ! c- F7

F- Bb7 Eb7 EO Bb7 ! F7

! V

Bb7 Eb7 EO Bb7 D7

D7 G7 G7 C7 J . ..

130 Shawnuff - cont. C7 C- . F7 Bb G7 .,1mJ 7t \?t~

Bb G7 C- F7 Bb 17t~~U-

Leap Frog

By Charlie Parker VERVE 8840jVERVE 8002/VERVE 8006/VERVE 2501

J = 330 F F F A- D7 h - 1 I I I. ... • "f~· ..... •:'¥ .r ~~§G-~~~G- -C7 ~~~F

G- C7 F F

131

E- A7 D7 D7 5i-~!~~

G7 G7~ 6~?F. J 7~q!~-1f;ijiij

G- C7 F G- C7 6~?!_'t~

F /'fi

G- ""TRP1::' 3 l~- ~ \ ! I ~ '_-IF F A- D7 G- --rRPI:- 3

~ 132 Leap Frog - cant.

G7 D7 G7 XRPr:'- , 14 ?Tij@~-~~~~~

F! ~ F A- D7 "9'l~'~ ------G- .~ C7 , ,,~~~~@~-~~!7~~' D¥l

- -F ------F------A=-' ~ D7 G-

17 't -

F A-

E- J A7 D7 D7 "~-~?t~

F ~

133

G- C7 F G- C7

F ~3 'lltPT:' ~4

~51 '7"'~ ~

~ _ ...... ~'" 1'RPT: 4 ~ I i ~

G- F D7 G- C7

--!

F ~3 ~ 4 ~4

rv.·~

G7 G7 G- C7 !91¥~'1~ J .3 3 ~ ~4 ~Pr~ 4 30w=t e---¥=%=1....iiiiiii I n 'DRtJMS mEN!'>

..J 134 Parker's Mood

By Charlie Parker SAVOY SJL2201 J = 76 Blues G- c- 4

Bb7 F- Bb7 Eb7 LAY 8.o.a< -,

Eb7 Bb Bb7 Db- ab7 3~

c- F7 j 3

BbO

135

Bb7 10 9 - G I ~ ~~~~ ..:..-

EO Bb7

10 1 - '7'1

F- Bb7 Eb7 Eb7 EO ll~tim~~~~

12 't\fJ

EO F7 Bb7 Eb Bb7

13_

~ c- _ ~.--.._ 2 "_11111 ~~

CHARLIE PARKER FOR PIANO Recorded by The Paul Smith Trio Cassettes available $8.98 by mail

CRITERION MUSIC CORPORATION 6124 Selma Avenue, Hollywood, CA 90028 136 Warming Up A Riff

By Charlie Parker SAVOY SJL2201 J = 236 F7 Bb Bb F-

C7 C- F7+ Bb Bb

Bb Bb C7 C7 7_~~-

C- G7 C- F7

~ -A • -, B' B' F-~ 9 - "f , ~' lO . ?t - ~ 1~-~

c- F7 Bb Bb 2~ 't ~_I F"IL:I_ 't 1-· ------,~

D'-~ 3 ~ !t .

41'T~&~ !

A- D7 G G ,R-'_?tl

G- C7 C- ~ F7 "l-~

B' B' F- BI., ~ ";~-I- ~,-' Eb Eb- ~ Ab7 Bb 18~1i_

l. ~ ..I (turn page)

~- ... ~~--_.

138 Warming Up A Riff - cont. C7 C-

Bb F- Bb7 Eb 2~- ~'i!r-

G7 C- J F7 Bb Bb "~?I~-

F- Bb7 25.~-~1~?f

Ab7",,~.~ ,,~Eb- !t I~-~=t: =--== ----~

139 ~ 7~rr

Bb Bb _ Fh

~ ....."" 9~'~ )I:~'-

G G G- C7 l~-

C- F7 Bb Bb F- '~.~

Bb7 Eb Eb """ l~' ~\"7~ J Ab7 4~~~

rn C- F7 ~ ~ n '1-7~?~- I

Iioi..-_ ..J 140 Si Si

By Charlie Parker VERVE VE2-2512 J = 188 ~4 F E(Ii A7 D- G7

1 l' .,.. ~) - ....--

.-A- D7 G- C7 F7 ,-G- C7' F E(Ii A7 D- G7 ~

C- F7 3 B~7 B~- 5_~~-

\,,00

F ~ A- D7 G- 6_'t~

G- C7 F7 G- C7 7~q~~~

F7 G- C7 F7 I\l c- F7 8~~-~~

Bb7 J F7 A- D7 ~

G- C7 F7 G- C7 kij - ~. ~ - ? W ~~

C- Bb7 Bb7 F

~~~'t\'t

F~ G- C7 F7 ~~II

CHARLIE PARKER FOR PIANO Recorded by The Paul Smith Trio Cassettes available $8.98 by mail

CRITERION MUSIC CORPORATION 6124 Selma Avenue, Hollywood, CA 90028 J 142 Ballade

By Charlie Parker "ERVE MGV8002

J = 70 c- F7

D7 D7 ,.J-'I !I!!!!!~ -

.., 1

© 1958 ATLANTIC MUSIC CORP. © 1978 ATLANTIC MUSIC CORP. All Rights Reserved. W.W. C = Major scale/chord C7 = Dominant7th scale/chord c- = Minor scale/chord (Dorian) C~ = Half diminished scale/chord SCALE SYLLABUS

Each chord symbol (C7. C-, Co, etc.) represents a series of tones which t~e improvisor can use when Improvising. These series of tones have traditionally been caned scales . The scales listed here are the one~ I most !CAl It ,STtWUS often hear musicians play . All examples are in the key of C so you can compare the scale ccnstrucuon and WHOLE' HALFSTEP IASIC CROID Similarities, . • aroe SlMIOL SCALENAHI CONSTRUCTION SCALIm lET or c 111UT or c This SCALE SYLLABUS is intended to give the improvisor a variety of scale choices which can be used over any chord-major, minor, dominant 7th, half diminished and diminished . Western music, especially jazz and pop, C Major VllR"WWll CDlraAIC CIC.D uses major. dominant 7th and dorian minor scales and chords more th~n any other. ~cales an~ chords used less C7 PIn IASlC Doaiaat'lt 7th WVBVVHW CD ErG A Ib C CIOIbD Minor (Dorian) VHWV"B" CD Eb F e A Ib C CIbC~.. D often are the half diminished and diminished . If we agree on these ftve scale families as beang th~ most pre C- CAnCOUIS C' Half Dta.(Loerjan) HVVHWVW C Db Eb r Cb At» Ib C CEbGbI' dominant, then we can set them up 8S categories and list substitute scales beneath each heading . Co Ot.in1shed(8 tone .cale) VaVHVHWH CDEbFCbAbAIC' C n Gb A(lbb) Each category begins with the scale most closely resembling .the ch~rd symbol giv~n to the left. The scales are arranged according to the degree of dissonance they produce an re/atl.on to the baSICchord ~oun~ , Scales n~ar 1. MAJOR SCALE ClOlC!S SCAL! NAME W , H CONSTRUCTIONSCALE IN ICEY0' C CHOU 111 C the top of each category will sound mild or consonant and scare choices further down the lIst .wllI bec~me in WWBVVVH creasingly tense or dissonant. Each player is urged to start with th~ scales at the ~op and wl~h practice and C Kajor(dou't emphasize the 4th) CDIFGAIC CECID CA+4 Lydlan(aajor .~.le with +4) WllVB\I\lH CDE r' C A IC CI C ID experimentation gradually work his way down the list to the more dissonant or tension prodUCing scales. You W V H \I H -3 H CAb6 •?!'l?!?? CDErGAbIC CECIl) should work with a new scale sound on your instrument until your ears and fingers become ~omfortable with .11 CA+5.+4 Lydian Au,.nnted VV\lWKVH CDE rl e,A IC CICIID the tones in the scale . Music is made of tension and release. Scale tones produce tension or they produce C Aupen ted -3 II -3 H -3 H C Of E G lab IC CICID relaxation. The improvisors ability to control the amount and frequency of tension and release will in large C Dta1niahed'belia with II stap) KVHVKVBV C Db D I r' G A Ib C CICID C Ilu.. Scale -3 V a B -3 W CICID measure determine whether he is successful in communicating to the listener . Remember-you , the player are C Eb r " C Ib C also a listener! 2. 1)(»(1 AJfT7th SCALE NAME v , R CONSTlucnOli SCAU; Dr II'f 0' C CIIOID lW C SCALE 0I0ICU Any of the various practice proceedures and patterns listed in Volumes 1, 2 or 3 can be appUed to the learning C7 Doa1nant 7th WVHWVBV C D E rCA Ib C CEClbD nd assimilation of any of the scale choices listed in this SCALE SYLLABUS . Needless to say. any scale you want C7+4 Lydian DoIa1nant' VVVRWHV C D I " C A Bb C' C ! G Ib D to learn should be transposed and practiced in all twelve keys , The column on whole and half step construction C7b6 ·Rlndu VVKvav" CD I ,C Ab Ib C ClalbD that I have listed for each scale on the syllabus should prove helpful when transposing 8 scale to any of the t.vetve C1+ ¥hole Tone (6 tone scale) vvvvvv CD! Ib C C I cl Ib D • p,a' keys. C1b9 D1a1n1sh~(belin with H stap) BVBVHVBV C Db !b I r' C A Ib C C E C Ib Db (DI) C7+9 Dialnuhed Whole Tone BVHVVVV C Db !b I rl e,Ib C c I C, Ib D'(nb) C7 Bluea Scale -3 V B II -3 V C Eb " C Ib C CI C Ib D (D')

II of the scales listed in the scale syllabus are listed in the key of C so you can have a frame of reference and 3. KIHO' SCALI CIlOlCU SCAlE NAME W •H CORSTlUCTIOMSCALE1M~ or C CHOU til C n eompare the similarities and differences . You are urged to write them in all twelve keys and practice them in KinOI' VBVVVBW anMelve keys. c (Dodan) CDEbrCAIbC C Ib c Ib D, C Pure tUnor VBWVHVV CD Eb r a Ab Bb C CDGIbD' C Melodic "lDor(aseendina) VK"VVV. CDEb'CAIC ClbGID' H • Half step, W- Whole step C Ilues Scale -3 V RH -3 V c Eb F " C 8b C C !b C D D (,) mORD SYMBOLGUIDE POR SCALE SYLLABUS with VBVBVHIII 5 V7 means a Dominant 7th scale or chord c D1alniahed(belln V Itep) CD £b r Cb At» A •C CIIIGID, -3 • three half steps (ainor third) C Hamonic Kinor V R W W H -3 H CDIbraAbIC cnCID' • C- Phrygian H\I"WBVV C Db Eb ,C Ab Ib C C Ib C Ib ~ • Kajar scale/chord (emphasize the major 7th & 9th)(don't eaphasize the 4th) 4. HALPOIMlNlSatD SCALE NAME W •H CONSTlUCTIO SCAI.! IN UY or C 01010 1 C A+4 • Major scale/chord with raised 4th (Lydian) - WWWH WWH - SCALI CHOICES V7 • Dominant 7th sc.~e/chord (don't emphasize the 4th) (Mixolydian) C Db Eb r Cb Ab Ib C C Ib Gb Ib Balf Dt.1nlshed(tocrian) H V V H WWV CDEbrGbAblbC CEbCbI .. D - • Minor scale/chord (Dorian) (all scale tones are usable) Half Dlaini_hed '2(Loerian '2) V H WH WV V + • Raise the fifth tone of the scale ~ step V ,B CONSTRUCTION SCAI.! IN KEY OF C ' 97+4 • Dominant Lydian scale (emphasize the 9th 9 ' 4t h, & 6th) - wWWH WKW s. DIKlKISHm SCA'ITarOlCl SCALEMAKE atom III C V7+ • Yhole tone scale/chord • WWW ~ ~ W (this scale has a +4 & +5) Co Dtainj.hed (I tone .cale) VBWHvaVB CDnrCbAbAIC CIbCbA V7b9 • Diminished scale be.inning with a half step • H WH WH W"W V7+9 • Diminished whole tone scale (emphasize the b9,19.14, & '5)- HWHWWWw 6. DOMI1Wft' 7th v • R COMSTlUCTIONSCAtP nr at or C OIoe 1. C f • Half diminished scale/chord (Locrian scale or Locrian 12) - H WWK WWW SUSPENDED4th ~ CD' C A Ib C C r C Ib D (12) WHWHW W C7 aua 4 Doa.7th scale but don't V -3 V V R V ..,haslze the third EXAMPLES:C • C D ErG A •C (don't eaphasize the 4th tone) CA+4 • CDE rl GAB C (Lydian scale) OT!: The aboya chord ''''01 IUlde 1a .y .,stea of notatioll. t feel it belt rapr nnta tha eoullld. 1 bear ta ja ... C7 • C DE' C A Bb C (Dom.7th scale) The player should be aware that each chord s,.bol repres.ats a aeri •• of tones called a seale. !van thoulb I C7+t C- -,C DEb' G A Ib C (C ainor - dorian ainor) . would appear to haye oaly a raised 9th it also hal a b9.+4 '+5. The nUre C7+9 scale would look like: Ioot.b' ..... , C7+4 • C D E " G A Bb C (Lydian.doalnant scale) 3rd.+4.+S.b7 , root (C,Db,D',E.F'.CI.Bb.C). Mychord .,ebol ebbreYlatlO1l Is C7+9 aad the Il.-e of thia acala 11 Dt.inlahecl Whole Tone s~tt.al called Super Locrlan or Altered Scale. C7+ • C D E FI GI Bb C (Whole tone scale) C7b9 appear. to have oaly one ltered tone (b9) but actuall, hal threa: b9, +9, aad +4. The eatire Icala C7b9 • C Db Eb E pI CA Bb C (D~lni8hed scale beginning with b If atep) look. like thi.: loot,b9,+9,3rd.+4,5th.6th,b1.' root (C.Db.D',E,rl.G.A,''',C). Tb1. 1. called a Q~lni.b" .cal. C7+9 • C Db Eb E PI cl Bb C (Dtainlshed whole tone Beale) and ., chord a,.bol abbreviation 1_ C7b9. C' • C Db Eb , Gb Ab Ib C (Half dlainished scale/Locrlan scale) All Icales under the Do.lnant 7th cat lory are .calee that -.belliah the balic DaaiaaQt 7th souDd. Sa.e eealea provide ~h .are ten. Ion than the ba,ic da.iaant 7th .ouad and raquire practice aDd patiene. co Ira.p ~ Cfl2 •C DEb' Cb Ab Bb C (Locr!an sharp two(I2) scale) •••• ~c. 9f thetr •• antnl. "

__ ... . .,. vn ... '" \"'YQ~an 8eaoLe} C7 • C DE' C A Bb C (Dom.7th scale) C- -,C DEb' C A Ib C (C ainor - dorian ainor) C7+4 • C D E " G A Bb C (Lydian.doalnant scale) C7+ • C D E FI GI Bb C (Whole tone scale